Finding aid for the Igor Stravinsky correspondence on The Rake's Progress 0302
Finding aid prepared by Sue Luftschein
USC Libraries Special Collections
2011 March
Doheny Memorial Library 206
3550 Trousdale Parkway
Los Angeles, California, 90089-0189
213-740-5900
specol@usc.edu
Title: Igor Stravinsky correspondence on
The Rake's Progress
Collection number: 0302
Contributing Institution:
USC Libraries Special Collections
Language of Material:
English
Physical Description:
0.21 linear ft.
1 box
Date (inclusive): 1950-1951
Abstract: The Igor Stravinsky correspondence on
The Rake's Progress consists of correspondence, dated May 1950 to May 1951, between Stravinsky and his lawyer in New York, L. Arnold Weissberger,
concerning the mounting of his opera,
The Rake's Progress. The letters discuss business matters pertaining to the production of the opera, financial support for the work, where to
stage the premier, locations for the opera's American debut, problems associated with Italian singers performing in English,
and various other financial and administrative matters pertaining to the completion and production of the work.
creator:
Kirstein, Lincoln, 1907-1996
creator:
Ricketson, Frank H., (Frank Henry)
creator:
Stravinsky, Igor, 1882-1971
Advance notice required for access.
All requests for permission to publish or quote from manuscripts must be submitted in writing to the Manuscripts Librarian.
Permission for publication is given on behalf of Special Collections as the owner of the physical items and is not intended
to include or imply permission of the copyright holder, which must also be obtained.
[Box/folder# or item name], Igor Stravinsky letters on
The Rake's Progress, Collection no. 0302, Special Collections, USC Libraries, University of Southern California
See also the scores of
The Rake's Progress, USC Special Collections.
Stravinsky's opera
The Rake's Progress, set to the libretto by W. H. Auden and Chester Kallman, was inspired by William Hogarth's series of paintings. Stravinsky
had wanted to write an English-language opera since arriving in the United States in 1939, and was inspired to do so by seeing
the paintings at the Art Institute of Chicago on May 2, 1947. The opera premiered in Venice on September 11, 1951.
The Igor Stravinsky correspondence on
The Rake's Progress consists of correspondence, dated May 1950 to May 1951, between Stravinsky and his lawyer in New York, L. Arnold Weissberger,
concerning the mounting of his opera,
The Rake's Progress. Also included are copies of letters to F. H. Ricketson of the Central Civic Opera House Association, Denver, Colorado; Lincoln
Kirstein; Howard Taubmann of the New York Times; and Betty Bean and Dr. E. Roth of Stravinsky's publishers, Boosey & Hawkes,
London. The letters discuss business matters pertaining to the production of the opera, financial support for the work, where
to stage the premier (including discussions about a possible staging at USC), locations for the opera's American debut, problems
associated with Italian singers performing in English, and various other financial and administrative matters pertaining to
the completion and production of the work. Stravinsky's letters to Weissberger are on his personal letterhead with his Los
Angeles address, "1260 N. Wetherly Drive, Hollywood 46, California."
Purchased from J & J Lubrano Music Antiquarians, March 2011.
Subjects and Indexing Terms
Boosey & Hawkes Music Publishers. -- Correspondence
Kirstein, Lincoln, 1907-1996 -- Correspondence
Ricketson, Frank H., (Frank Henry) -- Correspondence
Stravinsky, Igor, 1882-1971 -- Archives
Stravinsky, Igor, 1882-1971 -- Correspondence
Weissberger, L. Arnold, 1907-1981 -- Correspondence
Composers--California--Los Angeles--20th century--Archival resources
Correspondence
Opera--20th century--Archival resources
Box 1, Folder 1
Box 1, Folder 2
Box 1, Folder 3
Box 1, Folder 4
Correspondence with F. H. Ricketson 1950 June 14, 19
Ricketson relays his conversation with Ralph Hawkes regarding the latter's interest in a Denver production of the opera; asks
Stravinsky if he will be visiting Denver in July; Stravinsky assures Ricketson of his intention to work with him on the artistic
side of the production.
Copies.
Box 1, Folder 5
Box 1, Folder 6
Box 1, Folder 7
Box 1, Folder 8
Box 1, Folder 9
Box 1, Folder 10
Letter from Stravinsky to Harold Taubmann 1950 November 3
Box 1, Folder 11
Letter from Stravinsky to Weissberger 1950 November 6
Discusses collapse of Sher-Hartford deal, Ricketson deal, and includes copy of the "expose" sent to Betty Bean; discusses
with Betty Bean the collapse of the Ricketson deal, possible premier of the opera at USC in 1951, and financial arrangements
for that premier.
Betty Bean letter is a copy.
Box 1, Folder 12
Box 1, Folder 13
Letter from Stravinsky to Weissberger 1950 December 19
Discusses break down of USC performance planning; contract issues with Boosey & Hawkes regarding the completion of the opera,
the world premier, and his creation of the "tradition" of his work; and his willingness to sacrifice some financial gain for
more control over a potential production.
Box 1, Folder 14
Box 1, Folder 15
Letter to Weissberger, correspondence with Lincoln Kirstein 1951 February-March
Letter to Weissberger that discusses the enclosed correspondence with Kirstein: Kirstein discusses possibility of new backer,
possible costs for New York production, ways to save money by using Venice cast in New York, and asks how much Stravinsky
would need in financial compensation for conducting? Stravinsky's reply discusses difficulties in using Venice cast, quotes
a price for his conducting services. Stravinsky's letter to Weissberger expresses confusion regarding subsequent developments
in the New York production of the opera.
Copies.
Box 1, Folder 16
Box 1, Folder 17
Letter from Stravinsky to Weissberger, Dr. E. Roth 1951 May 9